The Age of Adaline

Year: 2015

Director: Lee Toland Krieger

Starring: Blake Lively, Michiel Huisman, Ellen Burstyn, and Harrison Ford
Tagline: The world has changed in the last century.  Adaline has not.
Synopsis: A freak accident prevents Adaline from aging.  Almost 80 years of hiding her secret is a lonely way to live.

Review

Romances are not normally my thing.  Honestly, I tend to avoid them and react to their previews with eye-rolling and groans.  But the premise of The Age of Adaline caught my attention.  The fact Harrison Ford was in it didn't hurt either.  And frankly, sometimes its just nice to see something that isn't action, fantasy, or animated.  Still, I went in with low expectations.

I can't quite say I was pleasantly surprised, but I was at least pleasantly diverted during the course of the film.

The film is what it is.  It's a romance with a fantastical premise where a freak accident leaves a woman ageless, perennially 29 years old.  If you can accept that premise, you can enjoy the ride.

The film's most glaring mistake was that it seemed incapable of accepting its own nature.  The Age of Adaline is essentially a modern fairy tale.  So when a narrator starts doing his thing during the opening scenes, it's not too unexpected or strange.  Narrators are a familiar trope in fairy tales (see pretty much any Disney fairy tale for an example).  But instead of embracing that fairy tale/fantasy nature, the narrator seems to think he was hired to do a documentary on the Science Channel.  The film feels the need to offer a "scientific" explanation for Adaline's condition.  They even give it some theoretical name, explaining how the scientific principles of the "physiological reaction" will be "discovered" in the year 2035.

I suppose it is a sad commentary of our modern era that the film feels the need to rely on "science" rather than allowing for a magical or miraculous occurrence.  Who even needs an explanation?  Groundhog Day never offered one, and was a stronger film for it.  Honestly, the more "science" this film spewed the sillier it seemed.  Nothing says "romance" like a clinical breakdown of how the body reacts during hypothermia, right?

Even without the narration, The Age of Adaline is hardly groundbreaking cinema.  And it probably could have done more to delve into Adaline's character.  It feels as if we only see a few glimpses into the life of a clearly fascinating woman who has more stories to tell than could ever fit in a two-hour time slot.  But while the film isn't fantastic, it was on the whole enjoyable and it did some things quite right.

The film itself is beautiful.  And it is bolstered by an excellent cast.  Blake Lively is Adaline.  It is no small feat to portray a 106-year-old woman in an unchanging 29-year-old body.  But she does an admirable job of it.  Adaline embodies the adage "still waters run deep."  She is calm, reserved, somewhat aloof, but fascinating and mysterious at the same time.  She catches the eye of her love interest, Ellis, when she is sitting outdoors reading braille, because apparently during her 80 years of being stuck, she decided to learn braille.  Why not?  She also speaks fluent Portuguese and is not someone to play Trivial Pursuit against.  Adaline is likable and intriguing.  And as she is conflicted between having a relationship and hiding her secret, she is even relatable.

The film uses a number of means to offer glimpses into the life that Adaline has led over the decades.  Some worked better than others.  At least for me, the most poignant involved her dog, and watching her flip through a photo album filled with pictures of previous dogs.  Although she has a daughter, Flemming, for various reasons you realize those beloved dogs have been Adaline's only companions in her solitary existence.

Watching Adaline interact with her daughter -- who looks as though she were Adaline's grandmother -- is quite interesting.  I wished there had been more to their story.  But aside from a few flashbacks, we only see Flemming as an older woman who has long ago accepted her mother's condition and its ramifications on their relationship.

Although he doesn't have a lot of screen time, Harrison Ford's character, William, plays a pivotal role in the story.  Although it is a far cry from the brash smuggler or intrepid archaeologist characters that made him famous, Ford fills the role perfectly.  His character, Ellis' father, helps to ground the film (which it very much needs by the time he shows up) and bring perspective.

As I said, The Age of Adaline is what it is.  It's a charming, romantic fairy-tale that takes a few missteps and falls short of its potential.  But it is still likable (aside from the ridiculous narration) and beautiful.  It manages to have sentiment without turning into schmaltz.  If having read this you think it sounds interesting, go see it; you'll probably enjoy it.  If The Age of Adaline is not for you ... The Age of Ultron is almost here.

*** Spoiler Section ***

The story wraps up tidily and rather predictably.  It's a romance.  That's what they do.  You knew she'd run away and that something would stop her and bring about the final change of heart, allowing her to share her secret with Ellis.  I was glad the film showed restraint and skipped from "My name isn't Jenny" to telling Flemming (hours later), "He knows."  Thank you for not indulging in what would likely have been a sappy, over-the-top scene.

Quotable Quotes

• "That's the last picture I have of you."  "If you've seen one you've seen them all."  "That's true." -- Flemming and Adaline
• "Don't get sloppy.  It's the little things that trip you up." -- Adaline
• "She said she can't ... change." -- William to Ellis

ISFS

Freetown

Credible Credits

Year: 2015

Director: Garrett Batty

Starring: Henry Adofo, Michael Attram, Phillip Adekunle Michael, and Clement Amegayie
Synopsis: A group of LDS missionaries must flee from war-torn Liberia to the safety of Freetown, Sierra Leone.

Review

Director Garret Batty's previous film was The Saratov Approach, which I very much enjoyed.  So I was highly intrigued when I heard about his next based-on-a-true story film.  Freetown is a very good follow-up.

While the true story had been in the Ensign a few months ago, it didn't go into very many details.  Going into the film, I only had a general idea of what the outcome would be.  It is a credit to the film that despite what I did know, the movie had me on the edge of my seat at times.  There were many genuinely tense moments, especially in the start of the film.  The drama -- how it was acted, how it was shot, and how it was relayed -- was gripping.  From the start, I was invested in the film.

The story, however, becomes a road trip movie, as the missionaries flee from Liberia to Sierra Leone.  At that point, the film did start to feel a bit sluggish.  Instead of drama, there was a lot of talking.  Some of the discussions felt natural, but a few felt ... forced, so that certain faith-related topics could be checked off.

The film does address the issue of blacks and the priesthood, and to the film's credit leaves the resolution open.  The character who brings it up has found his internal reconciliation, but offers no pat explanation.  Without saying as much, the film's "answer" is "seek out your own answer" and then moves on.

There is some humor in the film, which stems from the personalities of the various missionaries.  Sometimes the humor felt a bit forced, but that was primarily because it was incredible to believe that anyone could find humor in such circumstances.  The missionaries leave because rebels are killing people, specifically people from a certain tribe.  Some of the missionaries watch helplessly as people are murdered.  The road trip is to preserve their lives, especially since one of the missionaries is a member of the tribe being hunted.  But while such circumstances are unfathomable to me, that was indeed a reality (and is still a reality in many places of the world).  I suppose you'd have to keep your humor to keep your sanity.

Despite a few rough patches with the story, the film itself is extremely well crafted.  I was stunned by the excellent cinematography.  The film was entirely shot in Africa and there is such a realism and beauty to the film because of that.  Also fantastic was the musical score, which felt perfectly suited to the film and never over done.

Freetown is rated PG-13.  It isn't graphic in any way, but it is intense.  Characters may not be killed on screen, but there is no mistaking they are killed off screen.  This certainly isn't a film for younger audiences.  But while it does have its flaws, it is an enjoyable film and a good film.  Freetown is definitely worth seeing.

*** Spoiler Section ***

The missionaries are assisted in their efforts by a man named Abubakar, who is a convert of 5 years.  On the rear windshield of his car, in big letters, is the reference Mark 9:24.  I'm not very good with New Testament references, so I had no idea what that verse was.  During the credits it happily explained.  The verse is: "And straightway the father of the child cried out, and said with tears, Lord, I believe; help thou mine unbelief."

Throughout the film, Abubakar has many doubts.  He fears they will never make it to Sierra Leone and asks the missionaries to simply hide in Liberia.  To his credit, he overcomes his fears and his doubts and moves forward.  Each time his doubts resurface, the missionaries encourage him to trust God.  The film is in some respects about Abubakar's spiritual journey, a fact the film might have done well to emphasize more.

Quotable Quotes

• "I teach by example."  "Example of not talking." -- Elder Nyanforh and Elder Gaye
• "We may not have faith to walk on water ... but we have faith to drive through it." -- Elder Menti
• "Is faith supposed to be so exhausting?" -- Abubakar

ISFS

Cinderella

Credible Credits

Year: 2015

Director: Kenneth Branagh

Starring: Lily James, Cate Blanchett, Richard Madden, and Helena Bonham Carter
Tagline: Midnight Is Just the Beginning

Review

Before I get to the feature presentation, I'd be remiss if I didn't mention the short that preceded it, namely Frozen Fever.  I believe I've mentioned before that I'm fully on board with these kind of short films.  It was fun to revisit Arendelle, Elsa, Anna, Olaf, and Kristoff.  It was an enjoyable way to sort of see what "happens" next after the main film is over.  The plot is simple enough: it's Anna's birthday and Elsa wants it to be perfect.  Unfortunately, Elsa gets a cold as only she could get a cold.  The song was catchy and the little story was quite funny.  It made me smile and a couple of the gags even made me laugh out loud.  Well done Disney.

From the time I heard Disney was planning a live action remake of their animated Cinderella, I was leery, to say the least.  I enjoyed the rather revisionist "sequel" Alice in Wonderland from a few years ago.  But I couldn't bring myself to go see the completely revisionist Maleficent, which seemed to ruin all I love about Sleeping Beauty.  This completely traditional Cinderella outshines both of those and more than justifies its existence.

For starters, the film is simply gorgeous.  The quaint settings, the exquisite wardrobe (granted I'm not one for fashion), the CGI magic: all are simply beautiful.  There's so much color and life to the film that it is basically eye candy.  It is a rich imagining of what a live fairy tale ought to be.  In that sense, it is a visual antithesis to Disney's recent Into the Woods.  Both are beautiful in their own way.  But their perspectives on fairy tale worlds are completely opposite.

Importantly, the cast for Cinderella is superb.  Richard Madden is both charming and sincere as the prince.  He has a lot more to do than his animated counterpart and has a good deal more depth and personality.  He's also clever and funny.  For her part, Lily James brings a much-needed sincerity to the role of Cinderella.  She truly comes across as courageous and kind.  But she also rounds out the character with frustration, exhaustion, grief, and at times despair.  It is clear that Cinderella isn't kind or optimistic out of some simple-minded naivete.  Her kindness and courage are her choice.  That is what this adaptation is all about: choosing to be kind and courageous in spite of heartbreak, disappointment, and cruelty.

I was skeptical of Helena Bonham Carter as the Fairy Godmother.  She bares little resemblance to the white-haired grandmotherly Fairy Godmother in the animated version.  But she brings a fun, quirkiness to the role and makes it work.  She is certainly a far cry from her previous wand-waving role, namely as the crazy, murderous Bellatrix Lestrange in the Harry Potter films.

Cate Blanchett is simply perfect as the stepmother.  Rather than "wicked" or "evil" she is jealous, vain, vindictive, and a bit cunning.  But the narrative also shows/explains some of what has led to her coldhearted state.

That is one of the strengths in general of the film: it has more time to explain things.  The first ten minutes of the film (give or take) are dedicated to Cinderella's youth, her mother's death, and her relationship with her father.  Such context adds a good deal of depth to the story.  We also get to see more of Prince Kit and his interactions with both his father and the grand duke.

There is an ongoing argument about the lack of strong female characters in movies.  While that has been changing some in recent years, too often the "strong" female character is a tough, no-nonsense, gun-toting (or bow and arrow toting) woman whose strength comes from an iron will, a sharp tongue, or a roundhouse kick.  I enjoy (some) of those characters.  They are fun and, to an extent, can be good role models.

I'm reminded, however, of Sister Margaret D. Nadauld's quote*: "The world has enough women who are tough; we need women who are tender.  There are enough women who are course; we need women who are kind."  Cinderella is about a woman who is strong because she is kind.  She shows courage not against aliens, monsters, or villains, but against cruelty, despair, and unfairness.  That is admirable.  Cinderella as a character is good, and that makes Cinderella as a movie great.

One more thing.  If you see the film (which you should), stay through the credits.  While there is no scene to watch, you will be treated to Lily James singing "A Dream Is a Wish Your Heart Makes" and Helena Bonham Carter doing her own rendition of "Bibbidi-Bobbidi-Boo."

*** Spoiler Section ***

The moment the stepmother smashes Cinderella's glass slipper, you know the film can't be resolved the same way as the animated version.  And that's a good thing, as it allows this film to distinguish itself and find what works best for itself.

That the prince (well, by that point, the king) has been incognito and tagging along with the search party is a nice touch.  He's not one to just sit back, twiddling his thumbs, idly hoping they find his mystery girl.  I also like that it is still the mice who help Cinderella out.  But really, what ultimately "rescues" Cinderella is her own goodness.  Rather than mope and feel sorry for herself and the unfair situation she is in, she chooses to treasure her memories and find joy in singing on a beautiful day.  It is a Disney movie after all.  Important things happen when characters sing.

The film also does a nice job of explaining the magic.  A touch of magic is why the stepmother and stepsisters can't recognize Cinderella at the ball.  And the magic in the glass slipper prevents it from fitting any other maiden's foot.

Quotable Quotes

• "I can't drive!  I'm a goose." -- the goose
• "I'm a lizard, not a footman.  Enjoy it while it lasts." -- a lizard
• "Have courage and be kind." -- Cinderella's mother
• "Do you have any watermelons?"  "Sorry."  "Cantaloupe?"  "I don't know what that is." -- Fairy Godmother and Cinderella (searching for something to become a coach)

*Sister Margaret D. Nadauld, "The Joy of Womanhood," October 2000

ISFS

Charade

Credible Credits

Year: 1963

Director: Stanley Donen

Starring: Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, Ned Glass, and George Kennedy
Tagline: You Can Expect the Unexpected When They Play ... "Charade"
Synopsis: After the mysterious death of her husband, a woman finds herself tangled in a web of mystery, danger, and lies ... all in pursuit of a vanished treasure.

Review

This film stars Audrey Hepburn and Cary Grant.  That alone is reason to see this classic film.  Also fabulous is the fact it is both a suspense/thriller and a romantic comedy.  What's not to love?

Charade has been dubbed "the best Hitchcock movie that Hitchcock never made."  The suspense/thriller aspect of it is simply that good.  But while there was often plenty of romance in Hitchcock's films, there wasn't a lot of comedy.  So I'm glad it was actually Stanley Donen who directed the film.  Incidentally, Donen was also the directorial genius behind Singin' in the Rain and Seven Brides for Seven Brothers.  (In case you are now wondering, Charade is not a musical.)

The script for Charade is one of my all-time favorites.  The dialog is terrific from start to finish, especially the banter between Reggie (Hepburn) and Peter (Grant).  They play off each other perfectly, whether it is an intense moment or a frivolous one.  The quips never feel forced and the witty charm is the natural result of casting such witty and charming stars.

Charade also has one of my favorite theme songs.  It was composed by Henry Mancini, who you might say was the John Williams of his day.  It is perfect for the movie and also perfect for the opening credits.  Yes, back in the day the opening credits were the big deal.  And Charade has an awesome animation sequence to start it out.

Lastly, Charade is fabulous because it is simply classy.  Grant is debonair and Hepburn is her usual flawless (and flawlessly dressed) self.  But more than that, it is morally classy as well.  Charade came out a year after the first James Bond film.  I've never been fond of 007 and his habit of going through numerous "Bond girls" in each of his films (Wikipedia lists over 80 over the course of 24 films).  Charade is wonderful in that it is "old-fashioned."  The film doesn't "show" anything because there isn't even anything to show.  Grant's character is ever the gentleman and Hepburn's character keeps her ardent advances within bounds.  It's a lot classier and thus a lot more romantic than anything in a Bond movie or anything in most suspense films of today.

I suppose I should mention that as a suspense/thriller, yes, there is a little violence.  But it is utterly tame compared to anything you'll see today.

I cannot remember a time in my life when I didn't love Charade.  The only sad thing about that is, I don't remember the first time I saw it, and thus don't remember my initial reactions to the twists and turns of the plot.  If you've never seen the film, I highly recommend hunting it down.  It has action, it has romance, it has comedy.  It has Cary Grant and Audrey Hepburn.  Basically, Charade has it all.

Quotable Quotes

• "You're blocking my view."  "Oh.  Which view would you like?"  "The one you're blocking." -- Reggie and Peter
• "I already know an awful lot of people and until one of them dies, I couldn't possibly meet anyone else."  "Well, if anyone goes on the critical list, let me know."  "Quitter." -- Reggie and Peter
• "What are you doing in here?"  "I'm having a nervous breakdown." -- Peter and Reggie
• "I'm beginning to think women make the best spies."  "... Agents." -- Reggie and Bartholomew
• "Of course you won't be able to lie on your back for a while.  But then you can lie from any position, can't you?" -- Reggie

ISFS

Paddington

Credible Credits

Year: 2015

Director: Paul King

Starring: Ben Whishaw, Hugh Bonneville, Sally Hawkins, Nicole Kidman, Peter Capaldi, and Julie Walters
Tagline: Please look after this bear.  Thank you.
Synopsis: A young, all-things-British-and-marmalade loving bear moves to London in search of a new home.

Review

I cannot remember the last time I was so thoroughly delighted at having watched a film.  By the time the credits rolled, I found myself chuckling at how terrific, wonderful, and charming Paddington was.  I do not use those adjectives lightly.

I'm not sure I was ever formally introduced to Paddington Bear (i.e., I don't recall reading the books as a child).  But I certainly knew the name and recognized the bear in the red hat and blue coat.  And tidbits like "Darkest Peru" and "marmalade" seemed to fit in my mental concept of the character.

When I saw the teaser trailer, I was intrigued.  But the main theatrical trailer -- which involved a toothbrush, ear wax, and a major plumbing fiasco -- left me rolling my eyes and expecting this to be another frenetic, low brow, slapstick-riddled debacle, ineptly ruining yet another childhood memory.  When the rave reviews started coming in, I was astounded.  Going into the theatre, I remained skeptical.

The movie trailer is Paddington's only fault.

Oh sure, not all the humor was quite my cup of tea.  But most of the humor was quite delightfully droll and wonderfully British.  Paddington isn't manic or rude.  He is completely charming, polite, and endearing.  And his earnest search for a new home will have you grinning.  Plus, as a bonus, he seems to have his own calypso band that serendipitously shows up on street corners to set the mood.  Where do I sign up for my own calypso band?

Whenever your main character is a CGI character, you need actors who are fully invested.  They are, after all, acting to nothing ... or perhaps a stuffed animal stand in.  The entire cast of Paddington -- which includes four Harry Potter veterans, a Downton Abbey alum, and the current Doctor -- is fully invested.  You get the feeling every one of them is honored to be bringing a cherished character to life and they all want to see it done right.  Nicole Kidman plays quite the over-the-top villain, which is what the story seems to call for (although she might be a bit intense for really young children).  Ben Whishaw rises to the challenge of being voice to Paddington, filling the bear with polite charm and innocent exuberance.

The story, in and of itself, is heartfelt and endearing.  But the film goes beyond that.  Paddington fully and brilliantly embraces its medium to tell the story.  It isn't just a story on film.  It's a story brought to life through the "magic" of cinema.  For instance, as Paddington is describing the Brown family in a letter, we actually pull back and see the house as if it were a doll house, a cutaway where you can see all the goings on at once.  Or there's the moment when Paddington is watching the old black and white newsreel of his home in Darkest Peru.  He walks right up to the screen projection ... and then right through it into his own vibrant memories.  The whole film is a cinematic joy to behold.

If this were a one word review, I would simply say, "Charming." At its heart, Paddington is a story about being a newcomer and finding where you belong. It is about family. If you have children, take them to see Paddington. If you don't have children, take your inner child.

*** Spoiler Section ***

The film had me from the opening sequence when the news reel video of the explorer talks about the "essentials" he took with him to Darkest Peru.  He lists off a "modest timepiece," and you see a hired local carrying a full size grandfather clock.

The film was already endearing long before the climax.  But throwing in both Mission: Impossible and Raiders of the Lost Ark references: perfect.  I laughed aloud at each.

Quotable Quotes

• "It's marmalade day!" -- Paddington
• "I named them after my mother ... and an exotic boxer I met in a bar once." -- the Explorer
• "Mrs. Bird has a hoover [vacuum] for every occasion." -- Paddington in a letter to his Aunt Lucy

ISFS

Unbroken

Credible Credits

Year: 2014

Director: Angelina Jolie

Starring: Jack O'Connell, Domhnall Gleeson, Takamasa Ishihara, and Finn Wittrock
Tagline: Survival. Resilience. Redemption.
Synopsis: The true story of Louis Zamperini: Olympic athlete, WWII bombardier, and prisoner of war.

Review

I got excited when I first heard about this film.  The trailers promised an outstanding, remarkable true story.  From what I've heard, the book is terrific.  And the story of Louis Zamperini's life is remarkable.  But there was nothing outstanding, remarkable, or terrific about this film.

Cinematically, it's not a bad film.  It's not a morally bereft film.  It wasn't shoddily made.  There are no gaping plot holes or failures in logic.  The cinematography was actually quite good.  And I remember thinking a few times that the musical score was quite pretty.  But ultimately, the film felt like a failure.

Honestly, if it weren't based on a true story, this would be a flat out terrible movie.  If it weren't true, it would be unbelievable.  Part of that is the somewhat confusing portrayal of the villain.  And part of that is because the film doesn't delve into the all important why.  Why did Zamperini remain unbroken, despite the unrelenting abuse he received?  The film failed to answer that.  From what we are given, he hung on through sheer grit, strength, and stubbornness.  As the film progressed, I actually felt less and less connected to Zamperini.  The film becomes simply grueling and unrelenting.

The tagline is "Survival. Resilience. Redemption."  Survival?  Check.  He survives the plane crash, survives being adrift, and survives being a POW.  Resilience?  Check.  He stays as positive as one could possibly expect while adrift at sea.  He gets up each time he falls (until no longer physically capable).  He refuses to compromise his integrity.  He perseveres through unrelenting abuse and ultimately triumphs over his abuser.  Redemption? ... Nope.

As portrayed in the film, Zamperini simply managed to not die.  Impressive?  Certainly.  But not necessarily heroic.  Survival, in and of itself, isn't heroic.  Surviving a horrendous ordeal and coming out a better person, learning to heal, and learning to forgive ... that's heroic.  That is Louis Zamperini's story.  That is why Louis Zamperini was "unbroken."  Yet none of that redemption was portrayed within the film.  Instead it was relegated to post film title cards.

Once the title cards appeared, that's when I realized what a complete failure the movie truly was.  I cannot think of another movie where the filmmakers so completely missed the point of the story they were trying to tell.  The movie (and biography) is titled Unbroken, and yet none of the filmmakers seemed to understand just what that meant.  What Zamperini did with his life after he returned home, that was where the story was.  I'm sure there were other POWs who also survived, but sadly returned home as broken men.

The film could have shown half the abuse and then spent the rest of the time focusing on how Zamperini adjusted to life back home.  He did return broken, with struggles, and nightmares, and PTSD.  His finding faith, learning to forgive the Japanese in general and his abusers in particular, and his ability to find healing and redemption should have been the crux of the story, the triumph of the story, not the afterthoughts in title cards.

One final pet peeve.  While the film's score was quite nice, the song that played during the credits was not.  I'm honestly not sure what it even was.  The song was so modern sounding that it felt completely incongruous with what I had just watched.  I tuned it out while watching the credits.

Louis Zamperini's life was an incredible story.  I'll give the film credit for introducing me to it.  But the film didn't do justice to what made his life such an incredible story.  I haven't read the book, but I'd recommend the book over the movie.

*** Spoiler Section ***

I'm not even sure this needs to go in the spoiler section, but I'll put it here any way.

If the filmmakers wanted the whole lifting the beam above the head thing to be the triumphant climax of the film (which it is), they really shouldn't have put it on the movie poster.  The poster spoils the climax.  Having seen the poster, I was basically waiting for that moment.  It was inevitable.  There's not much feeling of triumph in the inevitable.

Quotable Quotes

• "If I can take it, I can make it." -- Zamperini
• "The ground feels weird." -- Phil (after having been adrift at sea for 47 days)

ISFS

Into the Woods

Credible Credits

Year: 2014

Director: Rob Marshall

Starring: Emily Blunt, James Corden, Meryl Streep, Anna Kendrick, Chris Pine, Lilla Crawford, and Daniel Huttlestone
Tagline: Be Careful What You Wish For
Synopsis: Fairy tales converge as characters wish for, and search for, their happily ever afters.  But wishes don't always turn out as planned and danger is never far away when you travel into the woods.

Review

I have twice seen the video recording of the stage version (with Bernadette Peters as the Witch).  The first time I saw it was as a kid.  How old, I don't know.  But I remember enjoying act one and hating act two.  The next time I saw it was in college.  By that point I had no problem understanding that fairy tales were made for reimagining and that there is no one Cinderella or Rapunzel or whatever.  At that time I recognized the brilliance of Into the Woods and its beautiful and clever music.

So, I was excited to see the film adaptation.  And I was not disappointed.

Visually the film is quite fun and enjoyable.  I loved the woods and the feel of them.  They set the mood and feel for each scene.  Sometimes they seem warm and inviting.  Other times they are dark and claustrophobic.  I also liked that many of the settings felt more real than you normally get in a fairy tale.  The palace/castle felt more real than in say the animated Cinderella.  Jack and his mother's home seemed befitting their hardships.  Cinderella's stepmother's house felt lived in.  About the only visual that was a bit odd and jarring was inside the wolf.  But then how does one show inside a wolf without it feeling odd and jarring?

The music to Into the Woods is the best part.  It is gorgeous and sticks with you.  The lyrics are witty and clever (Agony is absolutely terrific as the two princes ham it up about their agonized love for two seemingly unreachable maidens).  The thing with the lyrics is they can go rather quickly, and you have to be paying attention; much of the story is contained within the lyrics.  Hearing the songs with a full orchestra is fantastic.  And the actors do a wonderful job with their numbers.  I actually didn't think that was Chris Pine singing as Cinderella's Prince, because he sounded so good and I had no idea Pine could sing.  The only weak link was Johnny Depp, who half talks, half sings his number.

There's a lot of humor within the film, but much of it is a subtle humor that can fly by if you're not paying attention.  I guess it is quirky.  And I like quirky.  I don't remember laughing aloud.  I do remember grinning throughout.  There's also a lot of heart.  All the major characters want something, wish for something.  And they are relatable things: going to a special event, having a child, being able to make ends meet.  Moreover, all the major characters lose something and must deal with the loss.

As for the story itself, Into the Woods starts as a fairly traditional fairy tale with everything coming together the way it's "supposed" to and everyone getting their happily ever afters.  But then the film takes a turn.  It becomes a story about consequences and responsibilities and finding that what you wished for wasn't what you wanted after all.  It becomes more realistic -- at least as realistic as you can be with giants, magic beans, and a witch.

Tying the music, the story, the humor, and the heart together is a superb cast.  They all do such a terrific job (well, I wasn't overly fond of Johnny Depp, but his character is unlikable anyway and he is seriously in the film all of 5 minutes).  Chris Pine is perfect as the charming (but ultimately insincere) prince.  Meryl Streep is a fantastic over-the-top witch.  Pretty much stealing the show, however, is Emily Blunt as the Baker's Wife.  She nails the role and makes it her own.

Obviously if you don't like musicals and/or fairy tales, Into the Woods isn't for you.  And even if you do, you still might not enjoy it.  Sondheim's music and lyrics have a depth that perhaps not everyone will appreciate or stay engaged with.  The story takes fairy tales and turns them on their heads.  So yeah, it's not a film for everyone.  But as for me, I absolutely loved Into the Woods and have been humming the songs since I saw it.  I personally recommend the film.

*** Spoiler Section ***

I'm by no means a purist when it comes to adaptations: whether from books or plays.  Different mediums have different needs.  And sometimes your aim is for a slightly different audience.  There are plenty of valid reasons to make changes when adapting material to film.

To be honest, I'm actually quite fine with the changes.  They had to cut a number of songs to make it two hours instead of three.  They lightened up on some of the violence.  And yes, they made certain elements more family friendly.

I actually really liked that Rapunzel ran off with her prince (rather than getting squashed by the giantess).  We've already got the failed marriage of Cinderella and her prince.  So it is nice to have someone's relationship work out.  I'm also rather glad Snow White and Sleeping Beauty were cut out.

The only problem with cutting out much of the cast getting killed by the giantess is, it makes killing the giantess even more morally questionable -- a question Red Riding Hood raises.  Jack is a thief and is responsible for the giant's death.  The giantess has plenty of grounds for demanding justice.

That is part of what makes Into the Woods so interesting.  It isn't a story of good vs. evil.  Some of the most likable characters make some of the poorest choices.  As the witch proclaims: "You're not good, you're not bad, you're just nice!"  The closest thing to an evil character is the wolf, who is just doing what wolves do (or at least what they do in fairy tales).  This is a world of grey areas, as embodied by the woods themselves.  Much is made of how people are different or change within the woods.  Characters go into the woods and they lose themselves, or they find themselves, or both.  The audience is left to ask of themselves what's good or what's right and to analyze the cost of getting what you think you want.

Quotable Quotes

• "I was raised to be charming, not sincere." -- Cinderella's Prince
• "It's the last midnight.  It's the boom splat." -- Witch
• "You can talk to birds?" Red Riding Hood to Cinderella
• "I need your shoe so I can have a baby."  "That doesn't make any sense." Baker's Wife and Cinderella
• "I wish ..." -- most of the cast
• "The woods are just trees.  The trees are just wood." -- multiple characters

ISFS